THE PRELIMII{ARY G(|URSE(|F TRAIIIII{G III THAI

THEATRICAT ART

BY

DHANIT YUPHOLAA

THAI CULTURE, NEW SERIES

No. tr3

THE PRELIMINARY COURSE OF TRAINING

IN THAI THEATRICAL ART

bt1

Dhanit Y,tpho

PUBLISHED BY

THD FINE ARTS DEPARTMENTBANGKOK, THAILAND

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f'1. Dhnnit Yupho, Director-General of the Fine ArtsDepart-EEnt from 1956 to 1968, was born in Nakorn-Sawan province,Thailand, in 1907, and came to learn Pali at Wat Mahadhatu,Bangkok, in 1918. He was a graduate of the ecclesiasticaldoctorate of Thailand. He entered the governrnent servicein 1934 and became Chief of the Research Section of theNational Library in 1943. From 1g46 to 1956, he wasDirector of the Division of Music and Drama in theFine Arts Department. Formerly Mr. yupho was also alecturer in the history of Thai literature at ChulalongkornUniversity. He is Editor of the Thai Culture, New Seriesand is, himself, the author of the following publications:

The Economic Conditions of India in the Buddha'sTime; The Khdn; The Classical Siamese Thearre; Artists ofthe Thai Dance-Dramas or Lakon Vol. I; The preliminarvCourse of Training in Thai Theatrical Art; Thai MusicalInstruments; The Khon and Lakon presented by the Depart_ment of Fine Arts. etc_

First Published LgSzRevised:,and Second Edition 1954Third Edition 1960Fourth Edition 196gFifth Ediiion . 1969Sixth Edition tg7l

Seventh Edition 1980

Pthted bt Ken Srsue press, 314-316 Brmrung MurnS Ro]L Bnlroh Tbttd.TcL ZXt3:t51, ZB{t548

" Nang" Fenale Charactet

Miss Nandini Deeprazuat

" Phra" Male Character

Mr. Thongchai Bodhayarom

Dancersa*-J-

THE PRELIMINARY CCURSEOF TRAINING IN

THAI THEATRICAL ART

Masked plays, dance-dramas and Thai ballets areconsidered to be the classical forms of histrionic art whichare peculiar to the Thai and are the symbols of their originaland highly developed civilization. The artists who canperform well have not cnly to be intelligent but must alsobe trained. Dr. Ananda Coomaraswamy too has said " Itis the action, not the actor, which is essential to dramaticart. Under these conditions, of course, there is no roomfor any amateur upon the stage. hi fact the amateurdoes not exist in Oriental Art. " (Mirror of Gesture p. 3).The classical theatrical art of the Thai is typical of thecultivated art of the East and requires good training for itsskillful execution. It cannot be staged off-hand at the pleasureof the actors. Furthermore even skilled exponents of thisart who are out of practice begin to deteriorate.

For want of attention, Thai theatrical art fell intodecay for some time till in 1947, when the World Warwas drawing to an end. The Department of Fine Arts drewup a plan to revive the national arts of drama arrd musicand one of its important proposals was to establish aschool to teach the arts. Then, after peace was concluded,the department hastened to open .the school, prescribe anadvanced course of studies and take in students who hadcornpleted primary education. The students received ageneral education as well as training in theatrical art.The school, however, attaches more importance to the latterand in this article I shall therefore deal with only thatpart of their education. But it is difficult to describewithout the aid of ocular demonstration and the readers mavfind it difficult to follow.

Usually training is given in theatrical art every after-noon throughout the term. There are both boys and girlsamong the students. Boys who wish to learn the art ofacting in masked plays are sent to the teachers of that artfor selection. Then they are trained to play the part ofhero (Phra), heroine (Nang), demon or monkey according

to their fitness. Students who have been selected to act

demons or monkeys begin by learning the " Mae Thi "( rrilrir ). Mothers of Postures, which will be explaiilied lateron.* But the boys who have been selected to learn the parts

of heroes, namely, Phra Ram and Phra Lak - who are also

known respectively as the major hero and the minor hero-orthose of the heroines, namely, Sida and MontLo-who arealso known respectively as the major heroine and the minorheroine, 'oegin by learning oo

Ram Phleng " ( irrnnl ), Dancingto music, just like girls who learn to take pdrt in ballets.Girls who will learn to perform dance-dramas and balletsare placed in charge of the teachers of those forms of art andare divided into two groups, namely, those who will act theparts of male characters and those who will act the partsof female characters because, though executed to lthe samemusico the acting of each group is of a distinct kind.

When the students have been divided into groupsthey begin to learn on a Thursdayo the Teacher,s Day.At first they are asked to kneel down, keep the bodieserect, open their hands and lay them, palms down, on thethighs. Then they are taught to resume the postrire dis_tinguished by five feature)s, namely, keeping the head, the* cf- The Xt on t ltorpraTtoyl Wn ii ,nX ,u;o -

-

Fig, 1

shoulders, the trunk and the waist erect and the hands fullystretched. In other words, they are trained to sit erect withexpanded chests. ( See fig.. I and also rntice the d'ifferences

bef'ween the postu,re of tlrc male and the female characters. )

'I'hen they are taught to indicate the rhythm of theirown movements by singirtg together "cha-chong--cha-thing-chong-.thing " eitc. ( See musical eramples 1 and 5 )

Vocal Part(1)

cha chong cha thing chong thing

r.nlzo5in3 : -

-+- --5-

TuneVocal Part cha chong cha thing chong thing

cha chong cha thing chong thingcha chong cha thing chong thingcha chong cha thing chong thing

t7) PHLENG CHA (cr.ow tuxr)

vt- w

ru).

rh3 thr Ihr th3 lbr

These sounds which are sung to indicate the rhythm areunderstood to have been adopted from the notes of theTaphdn ( nylxu ), a kind ofdrum used in the "Piphat band"to indicate the rhythm o.f what is called, not very accurately,"Phleng Cha" (rwarfi ), Stau Tune. The stiokes on t[;Taph6n which accompany the Phleng Cha are indicated inmusical example No. 7.

(?) PHLENG CIIA

TuneTaphon

phring phring phring tup pa tup phring phring tupphring phring phring tup pa tup phring phring tupphring phring phring tup pa tup phring phring tup phring

Then the students learn to place their hands on the

upper parts of their thighs, raise their seats, start and sway

their waists slightly. Doing like this is called Krathop

Changwa ( n:tvtuo"lr:a), " Beating the Rhythm", and is

meant to train the students, from the very outset, to recognize

the rhythm.

When the students have leamt Krathop Chaugvta the

teacher claps. the hands, rattles or castanets and sings

CHA (guow rurr)

prg pr' tup pr tp

-6-

examples 1 and 7 to indicate the rhythm and teaches thestudents to dance. At this stages the students bend theirfingers back, raise the palms of their hands a little above theirthighs and sway their bodies, now to the right and now tothe left. This part of the dance is called ,, Klom,, ( na'ol ).(Seefig.2)

Fig. 2

Then the students are asked to manipulate the fingersof their right hands as shown in fig. 3. After that theyslowly raise their hands up to their breasts in salutation, 1S:ee

-fiq. 4 ) and then bow and raise their hands above their headslike a person slowly doing homage to a king. ( See fig. 5)

-8-

Fig. 3

Fig. 4

-9-

.'.;

-lh*'x,*:*a;i

Afterwards they raise one of the knees and bring it

forward, stretch the arms and bend one of the hands towards

the head. This posture is called 'o Kt'ai Khiin 'fha

( n:ruiurir ). ( See fs.6 )

Subsequently they begin to stand up and move rhythmi-

cally, executing various figures of which there must be more

than ten. It has been noticed, however, that even students

who very well remember every one of the figures take about

one hour to execute all the figures. So it is surmised that

ti:ere must be a great manY of thern.

The students have to practise dancing and singing in

this way {or not less than one term before they can dance

all the figures executed to the Phleng Cha keeping to the

correct rhythm. It is said that some students have no sense

of rhythm and that even though they can dance in company

with others, they cften make mistakes in rhythm and move

out of harmonY with the rest'

When the students have learnt the rhythm to the

notes of the Taphon, they change to "Lai Noi " ( ldnilos )

that is to say, learning the rhythm of the oosroi Son"

( aiouau ) tune which is a variety of the Phleng Cha' ( See

eramPle No. 2 )

At this stage the students are trained to dance to-

gether and at the same time indicate the rhythm by singing; cha-chong-cha-thing-chong-thing " ( 6v-I d': - 6a' vr''r -ld l-n's )

and sometime the Lai Noi till the teacher finds the

students can dance readily and correctly to the rhythrn of the

Phleng Cha. Then the students are trained to dance to the

- 1l --

Fig. 5

''s

Fig. 6

(4) PHLENG REO (ourcx ruxe)(2) PIILENG CHA (SROI SON)

Vocal Partnoi noi noi noi noi noi noi noi noi noi noi noi noi noi noinoi noi noi noi noi noi noi noi noi noi noi noi noi noi noinoi noi noi noi noi noi noi noi noi noi noi noi noinoi noi noi noi noi noi noi noi noi noi noi noi noi noi

"Phleng R* " ( ,nao,i. ), QuickTune,imitating, at the same

time, the notes of Taphdn which the mouth thus; tup thingthing ( fiu. n'1. i.r. ) etc. ( See erample 3, 4 and. 6 )

(3) PHLENG RTDo

Vocal Part tup thing thing tup thing thingtup thing thing tup thing thing

Sing - brp Ains th3 9 thg 6r tp thg 6g b ths thg

tup thiry dr3

rr).nt

TuneVocal Part

tup thing thing tup thing thing tuii thing thingtup thing thing tup thing thing tup thing thingtup thing thing tup thing thing tup thing thingtup thing thing tup thing thing tup, thing thing

ip rhr nhs

tup thing thingtup thing thingtup thing thingtup thing thing

(21 PHLENG CHA (suow ruNe) sROt SON

(6) PHLENG REO

PHLENG REO (Qurcx tute)

tup tbg tlg

tls-12-

. During this period in which the students are trainedfor many months to dance to Phleng Cha and Phleng Reo,

the teacher sometimes demonstrates the movements and

postures in order that the students may remember and imitatethem. 'The students do so sometimes correctly and sometimes

incorrectly. If their hands and feet do not lcrok graceful, the

teacher bends them to the required shape. Sometimes the

students are also asked to tap the knees, hnoch the waists withtheir elbows and move their necks in order to learn to move

rhythmically in the same way as in training for tlu Kh-on.

They are trained like this every day till the teacher considers

they can dance to Phleng Chd and Phleng Reo tunes confor-

ming correctly to the rhythm indicated by their singing'

Later on they practise dancing to the music of the xylophone'

One has to practise for about a year to be able to dance to

Phleng Cha and Phleng Reo readily and correctly, and even

longer to dance to them very well.

Movements of trained dancers have become such

criterions of beauty that even the movements of women who

have not learned to dance but walk rhythmically have been

praised as compa.rable to the former. For instance Sudeshna

7a king of gods/ in Madanabddlid. praised Madana /anymph) thus:

" Her hands are like the trunk of the heavenly

elephant ridden by the king of gods. Hermovements are like those in a dance."

But some persons who have been leaming to dance tillold age are unable to dance well. In fact a student who

learns to dance from the time he or she is eight to ten years

old is generally able to dance better than one who begins to

learn when older, say fifteen or sixteen years of agen unless

the latter really has a talent for dancing.

-l+-

Phleng Chd and Phleng Reo are known together as

"Phleng Na Phat" (rvralurirvrrvr,ll, tttut is to say' instru-

mental music. Formerly, rn'hile training boys and girls to

dance, vocal music was not used at the preliminary stage'

The method followed by teachers of old has been

merely to teach the basic figures of Thai dancing' For' as

a matter of fact, students who can dance well to Phleng Chd

and Phleng Reo can really acquit themselves with credit on

ih" 1.hui stage. But usually when one had gained proficiency

in dancing to Phleng Chd and Phleng Reo one was taught to

dance to other items of instrumental music of the elementary

grJ" fif.u "Choet'n ( rr'n ), "Smoe" ( ralo ), " Rua" ( r-l )

and "La" ( at ).

The above is only as much as I am able to relate' But

what I have learnt by actual observation is, I feel, more

difficult to describe and write about' In the case of some of

the items I do not know how to write intelligibly. So I write

briefly leaving out much of the information'

When the students are able to dance to items of instru-

mental music of the elementary grade, they are taught to

interpret histrionicallyo words, generally those in the com-

position known as "Mae Bot" (rniun), The Alphabet of

Dancing, which is sung to the tune of " Phleng Chom Talet"

( rnarttrrato ), The Song describing the Market'* There

are two versions of the alphabet. The first which is a short

list of the evolution used in Thai dancing, is found

* Formcrly the " PhraThong" tune taas used for this purpose.

- 15 -

the episode of "Tlrc Destruction of Nonthuh futNdrai"* inthe Rdmakien comped by King Rdma I.as follows**:- [ 1] Thep-Pranom' Pra-t\m'.Phrom Si-nE'

Sot Soi Mala (choet chin)'( thang) Kwdng Doen Dong' {on9

Bin'

Kinnarin LiaP Tham ( amphat )'

t 2l ( ik ) Cha Nang Non' Phamon Khlao'

Khaek Tao, Ph-a La Phiang Lai'

Mekhala Yon Kaeo (waeo wai)'MaYuret Fon ( nai amPhon )'

[ 3 ] Yot Tong Tong Lom'?hrom Nimit'( ik thang ) Phisamai Riang Mon'

Yai Tha, MaEhchd Chom Sekhon'

Phra Si-Kon Khwang Chak ( ritthirong )'

lsee scores 8 and 9)

The second is a comprehensive list of the evolutions

which H.R.H. the late P;1""; Damrong had taken the ttouble

to obtain and includJ-it-ttit book "Tamrd Fon Ram"

f ;"]f.";ij , Treatise on Dramnturgv' published bv the

'it^iit"na" LiLrury. It mentions the following:-

TH AI VERSES

The Salutation of the celestials'*

T h e PreliminarY rnm)errwnt'

The four-farcd Phrom'

Stringing a gafland'

Singing iltz Iad.Y to slee7'

The hilloch reaching onIY uP to

the shoulder.

PhraIt is

1. Thep-pranom Tlrc Sahutation of the celestials.

2. Pra-thom The preliminary movenrcnt.3. Plrrom Si-nd The four-faced phrorn.

4. Sot Soi Mala Stringing a garland.5. Kwdng Doen Dong The stag walhing in theforest.6. Hong Bin The swan inflight,7. Kinnarin Liap Tham The kinnonzpalks arou,ncl the cave.

8. Cha Ndng Non SinSinS thz lady to sleep.

9. Phamon Khlao Thc bee caresses the flower.10. Khaek-Tao 'fhe cockatoo.

11. Pha Ld Phiang Lai 7'hz hiltoch reaching only up tothe shoulder.

12. Mekhala Yon Kaeo Mekhald tosses her gem.

13. Mayuret Fon The pacoch dances.

14. Yot Tong Tong Lom The uind sways the rops ofplantain leaves.'

15. Pbrom Nimit Phrom's creation.16. Phisamai Riang Mon Wedded lwe.17. Yia tha Changing the posture.

18. MaEhchd Chom Sakhon The fish plays in the ocean.

19. Phra Si-kon Khwang Chak Phra N-arai hurls the discus.

* This Episode was filmed by the Fine Arts Departrnent, entitled .TheDiamond. Finger,"

** Many of these ezpression have been borcawed from the translationof, H.LI. Prince Dhanini-.-at Krornamiln Bidyald,bh Bridhyakorn.

* Many of these erpression hatte been bo'raued' from the translation of

H.,Fi. Prlnce Dhanini'nat Kromamiin Bidyatabh Bridhyahorn'

1. Thep-Pranom

2. Pra-thom

3. Phrom Si-nd

4. Sot Soi Male5. cha Nang Non

6. Pha In Phiang Lai

-16--

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Andul.

Itt

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CI{OM TALAT

- PRl NOU. pilion' si.

arHANc) -- - rwirroooeu ooro, or - -\

rixl - - - - cri - riNcron. 0r

- YoN KEo 0l

tOT - - - - TONG.TONQ toi.0r--:-- PEROM NI

YAI---- TF^.UACR

TO RITONNELLO

TO RITORNELLO

TO RITORNELLO

TO RTTORNELLO

TO NITONNELLO

IO RITORNELLO

["tzl

|-,"

It"r3l

Io,

GHOM TALAT ( Rtronxeuuo)

LIAP rHAn-0a--:---(AM

ua---t0nET:--FON

TBAtfo)- PRtgA M^l- - 0f - - -- - RtrlO

7. Phisamai Riang Mon Wedded laue.8. Kang-han Ron Tlu blades of the zairulmill in

motirm.9. Klraektao Khao Rang The cockatoo retires into its nest.

10. Kratai Chom Chan The hare adnzires the moon.11. Chan Song KIot The maonis investedwiththeha|oL2. Phra Rot Yon SEin Phra Rot thrqps an epistle.*13. IMdn KIap Lang T'lB Ez,;t One tarns his back.14. Yuang Krai Walhing gracefutgt,15. Chui Chai Khao Wuog Sutaggering into the palace.16. Mangkon Riak Kaeo The dragon demands rhe gem

MuEhalin from Muilatin.17. Kinnon Ram The Kinnan dances.

18. Chdng Prasdn Ngd Elephants lock their tushs(infislx).

19. Phra REm Kong Sin phra RErn bend.s thc bout.20. Phamon Khlao The bee caresses (.the flouter).21. MaEhchii Chom Warin The fish enjtrys itsetf in the ocean.22.Ibng Lai Dai Sin Complaely infatuated.23. Hong Linld24. To Len FIEng

The suan atalks gracefully.Tlu lion plays with its tail.

25. Ndng Klom Tua The lady su,ays from side to side,26. Ram Yua Lasciztious dancing.n. Chak Paeng Phat Nd Crushing talc (cosmetics).28. Lom Phat Yot Tong The wind xpays the top of

plantain leaaes.

* Phra Rot: Prince Rothasen, see story ;" fiEno ora6,Dhanit l'upho, pp. 8S-9O.

-20-

by

31. BuaChuFak

29. Bang Phra Suriyd Keeping otrt the sun.

30. Hera Len Nam The Hera (a kind of dragon)sports in tlu water.

Thc lotas plant raiws its Pod.

40. Khat aChng Ndng

41. Tha Nai Sdrathi

42. Imven Vehd

43. Khi Ma Ti Khli

44. TiThon Yon ThaP

45. Ngfi Khwang Khon

46. Ram Krabi Si The

47. ChinSao Sai

48. Chani Rai Mai

32. Nakha Muan Fldng 'fhe serpent coils its tail.

33. Kwdng Doen Dong 'f he stag ual.ks in tlrc forest.

34. Phra Narai Kwang Chak Phra Nd.rai hurls his discus.

35. Chdng Wan Ya Tlw elephant scatters tlrc grass.

36. Hanumdn Phldn Yak Hamttndn kills the ogre.

37. Phra Lak Phlaeng Rit Phra Lah* displays his prousess.

38. Kinnon Fon FEng The Kinnon dances i'n a group.

39. Yfrng Fon lldng T'lv peacock dances spread'ingits niL'flv c-ross.

T'lu posture of tlrc chnrioteer.

Patrolling the sky.

Playing polo.

Beating thc drums,

The sna.ke throus its bodY

fuzoard ( as if it anere thrwinga hamrrcr).

Four postures of tlu raPia-dance.

The Chinese disemboutels n;mietfi.

Tlu gibbon msings fram treeto tree.

* Phra Lah : I'akshman in Ramayatu, an Indian Epic.

_2t_

49. Mekhali Lo Kaeo

50. Kinnon Liap Tham

51: Nang Nd Fai

52. Sua Thamlai FIEng

53. Chdng Thamlai Rong

54. Chong Kraben Ti Lek

55. Thaeng Visai

56. Klot Phra Sumen

57. Khrua-wan Phan Mai

58. Pralai-Wdt

59. Yang Khit Prakit Tham Inaenting.

60. Krawat Klao

61. Khi Ma Liap Khai

62. Kratai Tong RamKhlaeo Tham

63. ChakSoSdmSai

64. Yai Lam Nam

MeklnlE tosses her gent.

The Ktnnon walks around. theccvae.

The shadout play character anho

is alanys.blamed for trouble,

Tlu tiger destroys the hunter'scottage.

The elephant destroys the stable,

Tuching up the loose ends of theloin-cloth and hamnrcring iron.

Guardian deities fight atithsfuars.

Reaching out to Meru mauntain.

The creeper tuists itself aroundthe tree.

Tlw storm of uniaersal destruc-tion.

Doing up the h,air.

Riding thc horse and inspectingthc camp.

Tlw lure caught in tlu trapescapes into tlu caae,

Playing on the three shingedviolin.

Changing tlw sutg.

-22-

Dancing to the " alphabet" of either version is a model

of Thai theatrical art which our ancestors have been able to

preserve for us by handing it down from generation to

generation, at least from the time rvhen Ayudhya was the

Lpiof of Thailand, and is learnt from the verses of King

Rima IV wlfiih give its history thus:-

"The story of Phra Narai destroying Nonthuk''

At the beginning of Treta Age'

Was one that had come down from ancient times

When it reached AYudhYd."

In fact the greater part of the " Alphatet of Dancing"

has been adopted from the evolutions which accompany

Phleng Chd and Phleng Reo to which the students learn to

dance at the beginiig. But while interpreting words

histrionically **" -* postures and gestures were found

necessary tomake the spectators understand the words better'

So they were either invented'outright or adapted from those

alreadv erecuted to Phleng Cha, Phleng Reo and other items

of instrumental music of the elementary grade. Thus the

introduction of the histrionic interpretation of words amounts

to fixing their meaningsby the mov€ments and gestures' and'

,""ipJly, the first occation in which the hitherto nameless

movements and gestures were made to conform to the names

giuen to them now in the same manner as the evolutions of

lndi"r, dancing which are provided with names in the

Jiiy"-tu*1' of the sage Bharata' I understand that

formerly the names were used for giving of the students a

-21 -

general idea of the evolutions. For instance, the teaeJrerwould tell thern that " ^Sot Soi MAla,, referred to the move_ments of stringing a garland and how the students shouldo(ecrrte them to make them appear beautiful, or, again, howto q(ecute the figure " Tlw stag zpalks in the forest,, beauti_fully. Then the students would be able to use theirimagination and understand what was required of them.Thus in the case of the latter figure they have to rememberthat by nature rhe stage is timid and cautions and walkslooking to the left and to the right. A poet has comparedthis to the shy behaviour of maidens saying;

" Saw a stag walks gracefully glancingsidelong like young women who wait upona king with his sword and articles of toiler.',

If the studenrs learn guiding facts like this and usetheir imagination, they can form a mental picture of a stagwalking in the forest and represent it with their movementsand gestures which need not be alike providd they arebeautiful. For instance, Thai arristes formerly representedthe stag walking in the forest by spreading both the handsand bringing the palms to the front. But now they stretchthe forefingers and middle fingers out, clench the others,stretch the arms down till the palms are level with theseats, invert the hands so as to bring the palms below, raisethe first and second fingers up till they are level with thewaists and move them from side to side and up and downalternately. But the afiistes of India clench the first,

-2+-

second and third fingers, and stretch the thumbs and little

fingers out. That is their "way o[" representing the stag

walking in tiie forest. We cannot say whose representation of

the 6gure, ours or theirs, is more correct since technique

depends upon personal taste, suided by the artistic tradition,

customsn manners and beliefs of one's nation, So, in spite of

such mannerisrns of the dancers all representations of afigure

according to its narne are satisfactoryo provided that the

spectators can recognizi their purport and their beauty from

the point of view of art. So I understand that the names of

thesefgures were formerly used by theteachers merelytohelp

the students in inventing the appropriate movements and

gestures by themselves, according to the injunction " Dance

with your head." But some well-informed persons have

objected to this. They say the evolutions which have names

from the alphabet of dancing are correct only when ihey are

performed according to rules. But the objection can be

correct only for the time subsequent to that in which the

rules become stereotyped. When their names have come to

be interpreted in a stereotyped manner, to execute them

differently has, of course, been considered incorrect. Thus

teaching the theatrical art has come to mean training the

students to rernember the evolutions, that is to say, training

their memory more than their imagination- But the practice

is beneficial too, since without it the old way of executing the

figures named in the lists would have been changed beyond

recognitiono if not forgotten altogether, and would not have

come down to us in the forms in which they were prevalent

during the Ayudhya period.

-25-

1. Thep-pranom2. Pra-thom3. Phrom Si-nd \4. Sot SoirMdld5. Cha Ndng Non6. Phe In Phiang Lai

7. Phisamai Riang Mon8. Kang-han Ron

9. Khaektao Khao Rang

10. Kratai Chom Chan

11. Phra Chan Song KlotL2. Phra Rot Yon Sdn

13. Cho Ploeng Kan

14. Mdn Klap Lang

15. Phrom Nimit16. Yuang Krai

The salutation of tlu celestials.The prelim.inary mwen ent.The four-faced Phrun.Stringing a garland.Singing thc lady to sleep.

The hilloch reaching only up toThe shoulder.Wedded lone.7'he blades of the windmill inmotiat.The cockatoo retires into its nest.The hare admires the moon.T Iu m om i s imte ste d with thc halo.Phra Rot thrmps on epistle.Ughting the fire of universaldestruction.TIu Evil One turns his back.

Phron's creation.Walhing gracefully.

32. hngPhra SuriYa

33. Herd Len Nam

34. Bua Ch[ Fak

35. Nakhe Muan Hdng

36. Kwang Doen Dong

37. Narai Kwang Chak

38. Chang Sabat Ya

43. Khat Chdng Nang44. Sdrathi Chak Rot45. Traven Vehd

45. Khi Me Ti Khli47. Ti Thon Yon ThaP

48. Ng! Khwing Khon

17. ChuiChaiKhao Wang Susaggerring irxo tlu palace.18. Mangkon Len Nam Thc dragon sports in the water.19. Kinnon Ram Tlrc Kintnn dances.

20. Chdng Prasdn Ngd Elephants lock their tushs (infisht).

21. Phra Ram Kong Son Phra Ram bend.s the bout.22, Phamon Khlao The bee caresses the flonrcr.* Pleasc cec tlv Pictur*s of the eoolution in this bnk.

-26-

A COMPBEIIENSIVE LIST'

OF FIGURES WHICH FORM

THE ALPIIABET OF THE DANCING

23. Yai The Changing the posture.

24. Ma6hchdChomsdkhon Thefish disports in the ocean.

25. Long Lai Dai Sin Cornpletely infatuated.

26. Hong Linla T he sanan ualks grarcfullY.

27. Sing-to kn Flang The lion plays anith its tail.28. Nang Klom Tua The lady sasays from side to side'

29. Ram Yua Lascivious dancing-

30. Chak Paeng Phat Na Crushing talc ( cosmetics )-31. Lom Phat Yot Tong The wind svuctys the tops of

plantain leaaes.

Keeping otrt the sun.

The Hera ( a hind' of dragon )sports in uater .

The Lotus plant raises its Pod.The serpent coils its tail.The stag walhs in the forest,God Narai hurls His discus.'flrc elephant stri.kes its legs witha bunch of grass (tofree the latterfrorn. earth etc.).

39. tlanuman Phlan Yak Hanum-an destroys the demon.

40. Phra Lak Phlaeng Rit Phra Lah displays his prouess.

41. Kinnon Fon O The Kinrnn dances gracefully.

42. Nok Y6ng Fon ITAng The peacoch daruesits tail.The cross.

Thc charioteer drhtes the chariot.Patrolling the sky.

Playing poln.

Beating the drurns.The snakc throu.ts its body

forutard (as if it uere thrqpinga hatnnrcr).

-n-

49. Chak Krbbi Si The

50. Chin Sao Sai51. Chani Rai I\[ai

62. Yuang Phai Kathin

63. Pralai-wdt

T he fwr posture s for unsheathinga rapier.The Chiruse disembauels himself .Thz gibbon swings from treelo tree.

52. Khon Thing Ok Ktton beats his breast.*53. Mekhala Yon Kaeo Mekhatd tosses her gem.54. Kinnon Liap Tham The Kinnon walks around tlte

cave.55. Nang Nd Fai The shadou play character who

is alusays blamed for trouble.56. Sua Thamlai Fldng Ttu tiger destroys the huner,s

cottage.57. Chdng Thamlai Rong Ttu elephant destrosts tlrc stable.58. ihong Kraben Ti Lek Turhiag up the loose and of the

lnin-cloth and hammcring iion.59. Visai Thaeng Tti The guardian deiries fight with

60. dharot phra sumen "##;, the sumerumauntoin.

61. Grua-wan Phan Mai The creeper tanists itself aroundthe tree-

The .oar-sateep of a boat in aRattun procession.

Tlu storm of uniaersal deitruc-tion.

64. Yang Khit Pradit Ram Still immting a dance.65. Krawat Klao Doing up the hair.66. KhiI!{6LiapKhai .Ridngin" n*n and. inspecting

6r. Kratairong Raeo '*";ff:; r, caugttt in the tap.68. Chak So Sam Sai ,H:: * the three_striiged

* Khan is nmne of a Demon prince.

-28-

TIIE ACCOMPANYING

ILLUSIBATIONS O}' POSTUBES

riIli

r3It,

Tzuo danctrs in the 1>osture of"7'lu: coc/:atoo retires into its ttcst',

T[,cp-pra.omIhe:alulalion ol the celesti€ls

&rfu

, i

IIt

\

a"

',1 ,t '4.t\:''';4'''-'\# ,r..

tto ,'i,tVlg','i.:,, ,* ,,,

'rl ,

.tN,.t'' - l.i*.

f,t <';a ,'t-C.\14 L :1' {v' fnv f,.

,d 'Y". . -)'1",, :t . .

'i'., 'r' . .-4' '{

i.:{.4-4.iJ

Pra - thontIhe preliminary moveme'rl

nrumturir Phrom Si-naThe lour-leced phrom

dogtdr'ouu1a1 Sot Soi MalaSl.tnging e gorlond

trlul{,ttou Cha Nang Non

Sinorng tha Ledy to slcco

Pha La Phiana LaiThc hlllock reaching only uplo rhc shorlde,

nmrrilurlnd

s orlv{dilurru0lltJou

n{flurou

Phisamai Riang MonWedded love

Kang-han Ronlhc bladcs ol the windmill in molion

i Joru1lRr911t1lt0

n:esirurur'uni

Khaektao Khao RangThc cockaloo.cltrca Into i,3 nesl

Kratai Chom dhanThe harc edmires thc moo.

r^lrsd"ufl5m:iflao Phra ehon Song KlotThe moon 13 Invesled with lhe halo

Phra Rot Yon SanPhra Rol lhrows an epislle

l0r}|{ntnlnvCho Ploeng Kan

Lighting lhe lire ol universal deslruclion

Men Klap LnnqThe Evil Onc tr,ns hi: bn.t

:Jtrnaufla{wrs:nIuild'rt

yrt?ruuufl\

Phrom Ni-itPhrom's crealion

yoiluQlUrlr'llil

Cbrri Chai Khao WangSwagger;ng into the palaco

Manglon Len Namlhe dragon sporls in the waler

{tUO\:nflU Yuang Krai

Walking grace[ullyutt

tJ{n:rauut

fiuu:ir ( r) Kinnon Rarn ,4

The Kinnon danccs

Kin.ron Ram Bfhe Kinnqn dances

dnil:sarurr Cha"g Prasin NgaElephants lock their tusks (in licr,.

Phrn llam Ku,rgl'hra Rirn bendr the bow

iirnr:ir ( c, )l^trsrluIr;{fl:

tRU1fln1 Phamon Khlao

Ihe bec caresses lhc flowe,illAlSUdlRt Maihcha Chom Sakhon

The lish di3portr in the ocean

Long Lai Dai SinCompletely inlatueted

Yai ThaChonglng tire gosr,

c rr{fla0lflatndu

fi{daun'l Hong LinlaThe swan welks gracefully

Sing.to Len Hang' Thqlion playr with ll3 tlil

frrlnrdunn cJrluf

rnndotn-rNang Klom T.talady sways from side lo side

Ram YuoLasclvlous dancing

tllu',TnttunHo?tu1 ChaL Poeng Phat Na

Crushiog lalc ( cosmeltca I

Lom Phat Yot TongIhe wlnd sways lhe lops of plantatn lcavcr

lJ{y{:gd:91I

Band Phrq SuriydKeeping oul lhe sun

Her-a Len NamThe Here (a kind of dragon) sporls in wslcr

rttfifltauulnUilOU09l9lO.t

rirqf,n (n ) Bua Chr Fak ,4The Lolus planl raises ils pod

Bua Chn Fak IThe Lolus plonl rolscs lls pod

til1n1il?Ull'l,l Nakha Muan Heng

The serpenl coils ils loll

KwEng Doen Dong u{Thc Slag walks In thc foreil

u1qiln ( t )

ntrufruol (n)

Jwtildcunilful

oJ?rluru}{a1quflr

Chang Sabat YEThe elcphanl slrikca ils lcg wtlh r bunch ol grus

( lo lrec lhc laller from carlh clc,)

Hanumdn Phlan YakHenumdn dcslroys the &mon

n?l{r9ruoi (") Kwdng Doen Dong BThe stag walks in lhe loresf

Ndrai Kwane Chal(God N6rai hurls His discus

rtrtuoltrtnr'nt

wrcn-nurduiluoqnf Phra Lak Phlaeng Ritrh,o Lrk displays his prowess

unu,:ilou?n{ NoL Ynng Fon HengThe peakock d€nces sp.eading lls l€il

Khat Cheng NangThe croscfiuurrilould

flo0't0u'tit

rrrir'nrn Sarathi ChaL RotThe chariotecr d.ivca the chsriol

Traven VehaPetrolhng thc aly

ir{ {l|lJlflRA Khi Ma Ti Khli

Playlng polo

Ti Thon Yon ThapBclting thc drums

tt:&t?ul2Hl fiIvruluuvr-u

rrrirn'ou ( n )NgD Khwang l(hon I

The snakc throws its body {omard( as i[ it were lhrowing a hammer I

Ng[ Khw6nc Khon B.he s.nakc throws itj body lorward( €i il il wcre lhrowing a hammer 1

- {{ ruflt'tt&udyt'l Chak Krabi Si Tha

{he four postures lor unshealhinO a rapier

Chin Sao Satihe Chincse .lrrcmbowcls himscll

mrrorlnoou ( t ) louarrl#

rciiruli Chani Rai Mailhe gibbon swlngs lrom lrcc lo lree

Khon Thing OkKhon bcots hii brciel

rilrntluuuri? Mekhala Yon KaeoMekhala tossc: hcr gem

q'1 tnuuttauunl

flouyl{onKinnon Liop Tham

Thc Ktnnon walks around lhs cave

nulnrirh,lNang Na Fai

The shadow play characler who is atwaysblomed lor lrouble

-. S"q Thamlai H6nglhc liger Ceslroys lhe hunlc.'s collage

#r.:rirarul:r

Iornrcruuilrfldn

Cha"g Thamlai RongThe clephanl destroys lhc slablc

iho.,g Kraben Ti Le[Tucking up the loose end of the loin-clott,

aod hammc.ing l.on

raiofirorunl.r

56

ilauuymsrl Visai Thaens TriThc Auardian dcirics ligli with triden,s

eharot Phro SumenRcachihg thc sumoru mount6:n

{ g d s ut,ln:02auilu lu Grua-wan Phan Mai

lhe creeper lwisl3.itgcll around lhc rrec

Yuang Phai KathinThe ocr-sweep ol a boot In r Kalhio proccssion

s{lu0.t?{tuRnu

uniltcdtuttt

il:ca-urrsr Pralai-wdt'lhe slorm ol universal deslruciion

Yang Khit Phradit Ra*Slill inve"lin! a dancc

oln'nrrJrao'uff r{y< t{illrauunlu klding the horse and lnspecilng lne comp

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vttn:cil29lfln1 Krawat Klao

Doing rp the hatr

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TFtAt CULTURE, NEW SERTESALREADY PUBLISHED

!.. INTRODUOINO OULTUFAL TEAILAND IN OUTLTNE67 Phya Anuman Rajadhon

T. TEf,! ROYAL }IONASTEFIES AND IHEIB SIONITICANOE&y Luang Bortbal Burrbhand & A.B. Grtswold

9. SEADOW PLAY (tne Naq)by H.H. Prtnce Dhcntnrva-f Kromemijn Bldyalabh BrldhyEkorn

4, THAI BUDDEIST AET (ABCEITECTUBE)Ay Professor Sllpa Bhlrasrl

t. TIIAI LAOQUEB WOFKS 6y Prolessor Stlpa Bhtrasrl0. THII KEON Cy H.H. Prtnce Dhenlnlvat Kromamljn Btdvalabh

BrtdhyEkorn & Dhanlt Yupho?. KIION MAAKS iy Dhanlf yuphoE. CONTEMPORABT ANT IN TEAILAND

6y Pro{essor Stlpa Bhlrasrl9. TEAI LITEBATURE IN BALATION I'O TEf,i DIFFUSTON

OF EER CULTUBES by Phya Anuman RajadhonIO. TE$ NATUBSI AIID Df,iVELOPIIENT OF THEi TEAI

LANGTIAG[i by Phya Anuman Rajadhon11. TIIBI O[lsTOM AND NTTS OF PAYING EOMAOII TO

TEAOEEBS OF EEON, I,AEOH AND PIPEAT6y Dhantl Yuoho

lt. TEAI WOOD OABVINCS iy prolessor Stlpa Bhtrasrl18. TEEI PBELIMTNAAY OOURSTi OF TEAININO IN IHAI

TEXIATBIOAL ABI 0y Dhanr yupho14, TSAI TBADITIONAL SALUTATION

I'. AN APPBEOIATION

Dy Phya Anuman Rajedhoniy Phra Chen Duriyanga

NOTATIONDy Phra Chen Durlyanga

OF gttKHOTEAI AnTcy pro{essor Stlpa Bhtrasrl

TEAI IMAOES OF EEA BUDDEAey Luang Bortbal Burtbhand & A.B. Grlswold

19. WHAT I8 A BUDDH.A TMAGE!? 6y A.B. Grtswold

16. THAI MUSIOI8. THAI }IUAIO IN WTiSTDBN

18.

20. TEAI TBADTTTONAL PAINIINO $y Eltzabeth Lyons21. TEET MAEfr, oE.iT t1 phya Anuman Ralajhon22. THn |IOSaOEAT IN THAI PAINTINC 6y Eltzabeth Lyonr2S. IflB BOYAL PALACNA

by H.H. Frtnce Dhanlnlvel Kromamiin Btdyalabh Brtdhya-korn24. TEE DEVELOPMENT Otr THXi HATIONAL MUSETTMS

IN AEAILAND ly Dhanll YuohoP6. IIBABMACAKEA (TEsWEI:DL oFTEELAw) 67 Dhantt yupho

OTHER SUEJECTS TN PREPARATION